MODERN MUSIC

MODERN MUSIC

A Quarterly Review.

[New York]: The League of Composers.

Octavo. Original publisher's light green printed wrappers.

4 issues:
- Volume VII Number 1 (December-January 1929-30)
Contributions by Lourié, Milhaud, Schaeffner, Roerich, Stefan, Mark, Gutman, Saminsky, Thompson, and Opdyke

- Volume VIII Number 3 (April-May 1930)
Contributions by di Chirico, de Schloezer, Pisk, Stuckenschmidt, Evans, Rudhyar, Petit, Reich, and Bauer

- Volume IX Number 2 (January-February 1932)
Contributions by Hoerée, Reich, Thomson, O'Brien, Petit, Blitzstein, Copland, Hammond, Lopatnikoff, and Boys

- Volume X Number 3 (March-April 1932)
Contributions by Rivera, Weiss, Schlee, Heinscheimer, Blitzstein, Stefan, Mark, Smallens, and Saminsky

With occasional illustrations, some tipped-in.

Wrappers worn and chipped; some partially detached; one spine repaired with tape.

"The quarterly journal Modern Music was first published in New York under the title League of Composers Review from February 1924 through January 1925. In April 1925 the title was changed to Modern Music and publication continued uninterrupted under this name until the fall issue of 1946. The purpose of the journal was to inform American professional musicians and the American (and European) public about the new idioms and styles of twentieth-century music. According to the editor Minna Lederman, 'Modern Music had no fixed editorial position about any composer, any movement. Its pages recorded derogatory opinions about, as well as homage to, even the greatest figures of the age—Schoenberg and Stravinsky, who were under its most constant observation.'

The development of American modern music is recorded in detail: topics include the radicalism of Ruggles, Ives, Varèse and Cowell; the Americanization of the symphony by Sessions, William Schuman and Roy Harris; and the innovations of composers such as Carpenter, Copland, Gruenberg and Bernstein, all directly influenced by jazz and popular music. And, an extensive series titled “American Composers,” consisting of twenty-one biographical sketches with lists of important compositions and a portrait or sketch, is featured from 1930 through 1946. Included, among others, are Louis Gruenberg, John Alden Carpenter, Charles Ives, Roy Harris, Aaron Copland, Walter Piston and Samuel Barber.

Studies of the many European twentieth-century composers—Schoenberg, Bartók, Hindemith, Stravinsky—fill a large part of the first years of the journal. Paul Stefan discusses Schoenberg’s operas; Erwin Stein investigates Schoenberg’s inheritance and development of German music; Hugo Leichtentritt examines Schoenberg’s tonal and atonal compositions; while Paul Pisk explains Schoenberg’s twelve-tone technique. Adjioran Orvos and Kodály discuss Kodály and Bartók’s integration of folk music into the traditional European genres. An entire supplement to the May-June 1932 issue is dedicated to Willi Reich’s monograph on Berg’s Wozzeck. Many articles about Stravinsky’s neoclassicism parallel the American premières of a number of his ballets and symphonic works. Reports on the annual festivals held in European centers by the International Society for Contemporary Music, and American festivals held at Rochester and the Yadoo artists’ colony appear annually." Richard Kitsom, 2003, in RIPM (Retrospective Index to Music Periodicals (1760-1966).

Item #32963

Price: $40.00  other currencies

See all items in Books